David Edelstein

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For 1,792 reviews, this critic has graded:
  • 46% higher than the average critic
  • 2% same as the average critic
  • 52% lower than the average critic
On average, this critic grades 3.2 points higher than other critics. (0-100 point scale)

David Edelstein's Scores

  • Movies
  • TV
Average review score: 64
Highest review score: 100 Igby Goes Down
Lowest review score: 0 15 Minutes
Score distribution:
1792 movie reviews
    • 63 Metascore
    • 80 David Edelstein
    This Merchant of Venice comes roaring to life--when it stops, in effect, apologizing for its terrible anti-Semitic worldview and just gives itself over to some of the most furious courtroom drama ever written.
    • 70 Metascore
    • 80 David Edelstein
    What the film does have is coruscating anger, impish wit, and a breathtaking style.
    • 70 Metascore
    • 80 David Edelstein
    Transcends its murkiness and eats into the mind. Cure is what ails you.
    • 69 Metascore
    • 80 David Edelstein
    Venus in Fur is both kinky and can pass as a form of self-flagellation. One additional, not-small thing: It allows him to demonstrate, with a minimum of means, his superb craftsmanship.
    • 86 Metascore
    • 80 David Edelstein
    The movie works smashingly, especially if you haven't seen its Hong Kong counterpart and haven't a clue what's coming. But for all its snap, crackle, and pop, it's nowhere near as galvanic emotionally.
    • 81 Metascore
    • 80 David Edelstein
    I’ve seen Upstream Color twice and liked it enormously while never being certain of anything.
    • 78 Metascore
    • 80 David Edelstein
    This is one of the last Gandolfini performances, and it’s the ultimate proof that he could change his look and sound and rhythm without losing the source of his power: the connection to that inner baby ever starved for love and nourishment.
    • 64 Metascore
    • 80 David Edelstein
    The movie ends abruptly-too abruptly for my taste-but the gaiety lingers through the closing credits. Not even apocalypse can dispel the sexy vibes.
    • 71 Metascore
    • 80 David Edelstein
    A minimalist exercise in maximalist suspense.
    • 71 Metascore
    • 80 David Edelstein
    No wonder Hawke was so hot to pass the script onto Linklater. He's superb, by the way.
    • 82 Metascore
    • 80 David Edelstein
    Movies don’t always have to be “how things are.” When they’re as warm and rousing as Creed, they can be “how we want to make things.”
    • 84 Metascore
    • 80 David Edelstein
    Leigh has been giving actors their tongues for decades, and of all his films, Happy-Go-Lucky is the easiest, the least labored.
    • 62 Metascore
    • 80 David Edelstein
    The first half of The Yellow Handkerchief is the half-movie of the year, and the rest isn’t bad--just more sentimental, more ordinary.
    • 80 Metascore
    • 80 David Edelstein
    The Band’s Visit resounds with tenderness and melancholy.
    • 77 Metascore
    • 80 David Edelstein
    But Cate Blanchett ... ahhhh. She doesn't impersonate Katharine Hepburn, she channels her.
    • 58 Metascore
    • 80 David Edelstein
    The result, however clichéd, is spectacularly unnerving: hair-trigger horror.
    • 82 Metascore
    • 80 David Edelstein
    At its midpoint, the film could go either way: toward "The Hand That Rocks the Cradle" psychosis or something more hopeful and humanistic. It’s a testament to Saavedra’s tough performance that even with a happy ending, you wouldn’t want to leave her with your kids.
    • 78 Metascore
    • 80 David Edelstein
    Sensationally made and in patches pretty nerve-jangling.
    • 75 Metascore
    • 80 David Edelstein
    Hackman gives the con-man lines a simple, straight-ahead urgency that makes the man first hilarious and then, as the pleasures of human company are withdrawn and his resentment begins to bubble up, inexplicably touching. This is a great performance.
    • 87 Metascore
    • 80 David Edelstein
    The whole movie, of course, is a setting for its jewel, Catalina Sandino Moreno as Maria: With her clear, round eyes, long dark hair, and radiant transparency, she brings to mind two of the loveliest ingénues of the last quarter-century -- Meg Tilly and Jennifer Connelly.
    • 51 Metascore
    • 80 David Edelstein
    In the flawless cast, Williams is the most affecting.
    • 76 Metascore
    • 80 David Edelstein
    Bahrani’s casting of Dern is genius. She’s such a profoundly unaffected actress that you instantly buy her aversion to her son’s lucre. She has a moral and aesthetic problem with that tacky mansion on the waterway. She wouldn’t fit in there.
    • 80 Metascore
    • 80 David Edelstein
    For Greenfield, the Siegels are a brilliant metaphor for everything farkakte about the U.S. economy and the culture that shaped it.
    • 67 Metascore
    • 80 David Edelstein
    Private Parts is so riotous that you almost don't remember how unfunny Stern can be on his radio show.
    • 68 Metascore
    • 80 David Edelstein
    Powerful and then some.
    • 49 Metascore
    • 80 David Edelstein
    The movie is good enough to put a chill into the late-summer air. Salva has nasty surprises in the grim, minor-key last third, during which the feeling dawns on you that sleep for the next few nights won't come easily.
    • 76 Metascore
    • 80 David Edelstein
    The film is, finally, a brilliant tap dance over a void: There’s no real drama when the inner life of the female lead is so shrouded, even if that’s the point.
    • 90 Metascore
    • 80 David Edelstein
    The bad news is that Before Sunset is not as delirious an experience as its predecessor. The good news is that it's wonderful anyway, and in ways that tell us something about our romance with "Before Sunrise."
    • 65 Metascore
    • 80 David Edelstein
    Essentially a solemn, splintered meditation on lost love: a movie about personal space, in space.
    • 80 Metascore
    • 80 David Edelstein
    It thaws the soul.

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